This is a phenomenal record which deserves more recognition. It sets itself apart from the contemporary “repertoire” for several reasons. Among improvising vocalists, there are many who are virtuosic, who can impress you with rapidly shifting techniques and who have invented new sounds with the voice. Ute Wasserman is a singer who has this virtuosity, but only uses it in the necessary moments which benefit the music. She has a remarkable taste and timing, and knows how to interact with Lanz in a very complex way. Joke Lanz is also an excellent turntableist, who proves on this record that he is one of the finest, most sensitive electronics-players on the scene who can play dynamically. Together they play a music which has an enormous array of sounds, different types of reactions and shifts in direction. This is not unique, but what makes it somewhat unique is that despite all of this musical activity, they manage to not tire out the listeners ears. They have such a timing and such taste, that they know exactly what to throw into the music before it becomes too dense in information, and to bring in a new freshness for the listener.
From the very beginning of the 33 minute piece, they go into it with total confidence. There’s a play on the kind of “ping-pong”-type of interaction which John Stevens was a pioneer of (for instance, like on the record “Face to Face”). This kind of reactive playing is combined with other approaches, such as playing in different layers, overlapping phrases and even sometimes going into a groove together (which feels like breaking a kind of taboo in this context). All through the record, there are incredibly fresh sounds, like singing into a jew’s harp, and all kinds of music sources coming from the vinyl records. Bringing into this very European type of improvisation, sounds of dance music, Chinese (?) traditional music, etc, etc.
It’s striking how present Wassermann is. She seizes the moment, listening very carefully to Lanz and is always placing things according to the totality of the music, and you can say the same for Lanz as well. Certain materials or phrases can be repeated, but always as a conscious decision and not a limitation. The flow of different sounds, gestures and types of movement is dense, but the more complex, sonically shifting parts do not tire out the ear. This may be because they contrast those parts with something else, like a more sparse section or playing with ostinatos or grooves. At other times, a freshness comes about because of a kind of violent interjection, a very sudden break-off.
You might think, from reading this review, that it’s a bit too smart, too clever. To listen to this music, although it inspires a lot of thought and reflection, has a flow which really can get you into a kind of trance, you want to gravitate towards it, and it would be very hard to turn it off in the middle. It isn’t just an intellectual exercise, but a journey of feeling.
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